Belle Key Quotes

This is the key to life: To expect everything to be given to you from above, yet to be genuinely surprised and forever grateful, when they are. Expecting all good things to be yours, while not knowing how to take anything for granted. If there may be a key in life, this is the key.

Does the cosmos contain keys for opening my diving bell? A subway line with no terminus? A currency strong enough to buy my freedom back? We must keep looking.

The downfall of the attempts of governments and leaders to unite mankind is found in this- in the wrong message that we should see everyone as the same. This is the root of the failure of harmony. Because the truth is, we should not all see everyone as the same! We are not the same! We are made of different colours and we have different cultures. We are all different! But the key to this door is to look at these differences, respect these differences, learn from and about these differences, and grow in and with these differences. We are all different. We are not the same. But that's beautiful. And that's okay.In the quest for unity and peace, we cannot blind ourselves and expect to be all the same. Because in this, we all have an underlying belief that everyone should be the same as us at some point. We are not on a journey to become the same or to be the same. But we are on a journey to see that in all of our differences, that is what makes us beautiful as a human race, and if we are ever to grow, we ought to learn and always learn some more.

Our key to greatness lies not in our ability to project ourselves to others as if we are putting ourselves onto a projector and creating an image of ourselves on a projector screen. Rather, our key to greatness lies in who we are which we can give to other people in a way that when they walk away from us, they are able to say in their hearts that they have taken away something with them quite extraordinary.

I’d had a key to the marina’s locks at one time, but I’d lost track of it when I got shot, drowned, died, got revived into a coma, haunted my friends for a while, and then woke up in Mab’s bed. (My life. Hell’s bells.)

It was not death, for I stood up, And all the dead lie down; It was not night, for all the bells Put out their tongues, for noon. It was not frost, for on my flesh I felt siroccos crawl, Nor fire, for just my marble feet Could keep a chancel cool. And yet it tasted like them all; The figures I have seen Set orderly, for burial, Reminded me of mine, As if my life were shaven And fitted to a frame, And could not breathe without a key; And I was like midnight, some, When everything that ticked has stopped, And space stares, all around, Or grisly frosts, first autumn morns, Repeal the beating ground. But most like chaos,--stopless, cool, Without a chance or spar,-- Or even a report of land To justify despair.

I caught a glimpse of my face in the mirror as we glided p. I looked as eroded as the groaning lift. What had happened to the fresh-faced belle from Boston, Mass.? The woman who stared back at me was at the dreaded age between forty-five and fifty, that no-man's land of sag, oncoming wrinkle, and stealthy approach of menopause. "I hate this elevator, too," I said grimly. Zoe grinned and pinched my cheek. "Mom, even Gwyneth Paltrow would look like hell in that mirror." I had to smile. That was such a Zoe-like remark.

The problem of society today: An absolute lifestyle of entitlement. People gauge everything by "feeling", meaning whatever they feel like doing or whatever they don't feel like doing. Passion is valued over dedication. Instant gratification is prized over true fulfillment. They don't know that more than feeling; intuition is the better key. They don't know that more than passion; fulfillment and dedication are the better keys. True passion will produce dedication and ultimately— fulfillment. If not, then it should not be called passion; it should just be called a lack of self control/ immaturity.

I hated liking her. In a sense, it was like handing her the keys to the pit of my soul while she was tanked as hell and telling her to drive carefully.

Before anything else, preparation is the key to success.

To foil the decrees of fate, I am now planning a vast saga in which the key witness is not a paralytic but a runner. You never know. Perhaps it will work.

If you lack the humility to go back and tie up the loose ends in your past, then be prepared to forever be haunted by her ghosts, all of whom will come into your present and your future— staining everything and everyone with their leftover emotional and mental garbage. Humility is the master key that can get you out of all your cages; why do you choose your ego and stay in your prisons?

It’s exciting to hear them talking about poetry and science and philosophy—about Shakespeare and Milton; Newton and Einstein and Freud; about Plato and Hegel and Kant, and all the other names that echo like great church bells in my mind.

I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room. Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.

Some evenings I have the impression that Grandpapa Noirtier patrols our corridors in a century-old wheelchair sadly in need of a drop of oil. To foil the decrees of fate, I am now planning a vast saga in which the key witness is not a paralytic but a runner. You never know. Perhaps it will work.

I believe that secularism is not the enemy of spirituality. Our spirits are in fact secular and free. But the enemy of your spirit is materialism which produces legalism. People scramble for the "perfect law" in order fix everything, while failing to see that law only points towards what is material. And so, people find themselves going around in a circle that will never end. The key is to break away from that circle. You have to begin focusing your attention onto what is inside you and what is inside everybody else. This will in turn produce common sense, intuition, and understanding. Then comes strength.

A year later we were in a coffee shop, the kind taking a last stand against Starbucks with its thrift-store chairs, vegan cookies, and over-promising teas with names like Serenity and Inner Peace. I was curled up with a stack of causes, trying to get in a few extra hours of work over the weekend, and Andrew sat with one hand gripping his mug, his nose in The New York Times; the two of us a parody of the yuppie couple of the new millennium. We sat silently that way, though there wasn't silence at all. On top of the typical coffee-shop sounds - the whir of an expresso machine, the click of the cash register, the bell above the door - Andrew was making his noises, an occasional snort at something he read in the paper, the jangle of his keys in his pocket, a sniffle since he was getting over a cold, a clearing of his throat. And as we sat there, all I could do was listen to those Andrew-specific noises, the rhythm of his breath, the in-out in-out, its low whistle. Snort. Jangle. Sniffle. Clear. Hypnotized. I wanted to buy his soundtrack. This must be what love is, I thought. Not wanting his noises to ever stop.

Aelin lifted her hands, opening her eyes to find her fingers wreathed in flame. Darkness spread over the world. Through the veil of gold and blue and red, she looked at her prince. She raised her burning hands helplessly between them. "She stole me--she took me. And I could feel her--feel her consciousness. It was like she was a spider, waiting in a web for decades, knowing I'd one day be strong and stupid enough to use my magic and the key together. I might as well have rung the dinner bell." Her fire burned hotter, brighter, and she let it build and rise and flicker.

The great spy novelist John Le Carré suggested this axiom: The cat sat on the mat is not the beginning of a story. The cat sat on the dog's mat, is.

Her purse is half open, and I see a hotel room key, a metro ticket, and a hundred-franc note folded in four, like objects brought back by a space probe sent to earth to study how earthlings live, travel, and trade with one another. The sight leaves me pensive and confused. Does the cosmos contain keys for opening up my diving bell? A subway line with no terminus? A currency strong enough to buy my freedom back? We must keep looking. I'll be off now.

In trying so hard to win, we have instead become exactly like those whom we hate. The key is to know that there is no need to exert an effort to win; for we were already winners in the beginning when we were not like them. It's when we try so hard to overcome them that we become like them, without realizing that we were already victors in the very beginning.

There always comes the day when children swallow the key to the door of secrecy. They’ll not return it.

Initially, class privilege was not discussed by white women in the women’s movement. They wanted to project an image of themselves as victims and that could not be done by drawing attention to their class. In fact, the contemporary women’s movement was extremely class bound. As a group, white participants did not denounce capitalism. They chose to define liberation using the terms of white capitalist patriarchy, equating liberation with gaining economic status and money power. Like all good capitalists, they proclaimed work as the key to liberation. This emphasis on work was yet another indication of the extent to which the white female liberationists’ perception of reality was totally narcissistic, classist, and racist. Implicit in the assertion that work was the key to women’s liberation was a refusal to acknowledge the reality that, for masses of American working class women, working for pay neither liberated them from sexist oppression nor allowed them to gain any measure of economic independence.

Color—that’s another thing people don’t expect. In her imagination, in her dreams, everything has color. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard station, projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver; pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light. She has no memories of her mother but imagines her as white, a soundless brilliance. Her father radiates a thousand colors, opal, strawberry red, deep russet, wild green; a smell like oil and metal, the feel of a lock tumbler sliding home, the sound of his key rings chiming as he walks. He is an olive green when he talks to a department head, an escalating series of oranges when he speaks to Mademoiselle Fleury from the greenhouses, a bright red when he tries to cook. He glows sapphire when he sits over his workbench in the evenings, humming almost inaudibly as he works, the tip of his cigarette gleaming a prismatic blue.

She was no longer the shy girl her schoolmates had teased or ignored; conversation came naturally, he laughed easily, they ranked their five favorite Keats poems, agreeing to tie "Bright Star" and "To Autumn" for the top spot. Flowers rained down as the light breeze set them free, surrounding them in a purple haze. "La Belle Dame," he said softly, reaching to take a bloom from her hair. His expression was serious, his keen eyes studying hers. "Full beautiful---a faery's child. Have mercy on me." Polly felt something turn deep inside her, like a key in a lock, and knew that there was no way back from here.

You behold in me, Stephen said with grim displeasure, a horrible example of free thought. He walked on, waiting to be spoken to, trailing his ashplant by his side. Its ferrule followed lightly on the path, squealing at his heels. My familiar, after me, calling, Steeeeeeeeeeeephen! A wavering line along the path. They will walk on it tonight, coming here in the dark. He wants that key. It is mine. I paid the rent. Now I eat his salt bread. Give him the key too. All. He will ask for it. That was in his eyes. --After all, Haines began ... Stephen turned and saw that the cold gaze which had measured him was not all unkind. --After all, I should think you are able to free yourself. You are your own master, it seems to me. --I am a servant of two masters, Stephen said, an English and an Italian. --Italian? Haines said. A crazy queen, old and jealous. Kneel down before me. --And a third, Stephen said, there is who wants me for odd jobs. --Italian? Haines said again. What do you mean? --The imperial British state, Stephen answered, his colour rising, and the holy Roman catholic and apostolic church. --I can quite understand that, he said calmly. An Irishman must think like that, I daresay. We feel in England that we have treated you rather unfairly. It seems history is to blame. The proud potent titles clanged over Stephen's memory the triumph of their brazen bells: ET UNAM SANCTAM CATHOLICAM ET APOSTOLICAM ECCLESIAM: the slow growth and change of rite and dogma like his own rare thoughts, a chemistry of stars.

Song of myself Now I will do nothing but listen, To accrue what I hear into this song, to let sounds contribute toward it. I hear bravuras of birds, bustle of growing wheat, gossip of flames, clack of sticks cooking my meals, I hear the sound I love, the sound of the human voice, I hear all sounds running together, combined, fused or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work-people at their meals, The angry base of disjointed friendship, the faint tones of the sick, The judge with hands tight to the desk, his pallid lips pronouncing a death-sentence, The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor-lifters, The ring of alarm-bells, the cry of fire, the whirr of swift-streaking engines and hose-carts with premonitory tinkles and color'd lights, The steam-whistle, the solid roll of the train of approaching cars, The slow march play'd at the head of the association marching two and two, (They go to guard some corpse, the flag-tops are draped with black muslin.) I hear the violoncello, ('tis the young man's heart's complaint,) I hear the key'd cornet, it glides quickly in through my ears, It shakes mad-sweet pangs through my belly and breast. I hear the chorus, it is a grand opera, Ah this indeed is music--this suits me.

I could tell he wanted the best for me. Of course, he assumed that would be getting out. Everyone always thought that, not of what we had to go back to, at home. Maybe our parents had thrown away our mattresses. Maybe they'd told our siblings we'd been run over by trains, to make our absence fonder. Not everyone had a parent. It could be that nothing was waiting for us. Our keys would no longer fit the locks. We'd resort to ringing the bell, saying we've come home, can't we come in? The eye in the peephole would show itself, and that eye could belong to a stranger, as our family had moved halfway across the country and never informed us. Or that eye could belong to the woman who carried us for nine months, who labored for fourteen hours, who was sliced open with a C-section to give us life, and now wished she never did. The juvenile correctional system could let us out into the world, but it could not control who would be out there, willing to claim us.

above all the parishes in London, for a great number of alleys and thoroughfares, very long, into which no carts could come, and where they were obliged to go and fetch the bodies a very long way, which alleys now remain to witness it; such as White's Alley, Cross Keys Court, Swan Alley, Bell Alley, White Horse Alley, and many more.

Having a Care Package relationship keeps a character from being completely selfish.

The Care Package is a relationship the Lead has with someone else, in which he shows his concern, through word or deed, for that character's well being.

What I found was a moment where the main character has to figuratively look at himself, as in the mirror. He is confronted with a disturbing truth: change or die.

I think it's kind of a cool way to live - to find something to celebrate every day" -Cody Belle

/A weekend toward the end of September, the bell above the door rang and there he was in the shop. Same old feeling in my guts. I’ll go if you want me to, he said. I smiled, I was so fucking happy to see him. You’ve only just got here, you twat, I said. Now give us a hand with this, and he took the other end of the trestle table and moved it over to the wall. Pub? I said. He grinned. And before I could say anything else he put his arms around me. And everything he couldn’t say in our room in France was said in that moment. I know, I said. I know. I’d already accepted I wasn’t the key to unlock him. She’d come later. It took a while to acknowledge the repercussions of that time. How the numbness in my fingertips traveled to my heart and I never even knew it. I had crushes, I had lovers, I had orgasms. My trilogy of desire, I liked to call it, but I’d no great love after him, not really. Love and sex became separated by a wide river and one the ferryman refused to cross. The psychiatrist liked that analogy. I watched him write it down. Chuckle, chuckle, his pen across the page.

(T)here is no darkness, not the kind they imagine. Everything is composed of webs and lattices and upheavals of sound and texture... Colour - that's another thing people don't expect. In her imagination, in her dreams, everything has colour. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard room projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver, pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light.

Color--that’s another thing people don’t expect. In her imagination, in her dreams, everything has color. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and brown. Piano chords loll in the speaker of the wireless in the guard station, projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver; pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light

In the scene when Belle begs La Bête for permission to visit her father, La Bête, moved by her plea, decides to let her go, but requires her, at the cost of his own life, to return in a week. He explains to her that his magic exists by the force of five power objects—the rose, the key, the mirror, the glove, and the horse. These five are the root of La Bête’s creativity and magic. The point is, if a young artist were to ask Cocteau directly what he would need to pursue the life and work of an artist, these five elements would be the answer. The rose represents beauty. The key represents technique—literally, the means by which the “door” to creativity is opened. The horse represents strength and stamina. The mirror represents the path itself, without which the dream of the artist cannot be accomplished. The meaning of the glove eluded me for a long time, but finally, and unexpectedly, I understood that the glove represents nobility. By this symbol Cocteau asserts that the true nobility of mankind are the artist-magician creators. This scene, which leads directly to the resolution of the fairy tale, is framed as the most significant moment of the film and is the message we are meant to take away with us: Cocteau is teaching about creativity in terms of the power of the artist, which we now understand to be the power of transformation.

the Super Structure Principle may be stated as follows: The power of your story is directly proportional to the readers’ experience of it, and the readers’ experience is directly proportional to the soundness of the structure.

PRONUNCIATION GUIDE: Ailith: A-lith ("noble war"; "ascending, rising") Andriana: An-dree-ana, or Dree, for "Dri" ("warrior") Asher: Ash-er ("happy one") Azarel: Ah-zah-rell ("helper") Bellona: Bell-oh-na ("warlike") Chaza'el: Chazah-ell ("one who sees") Kapriel: Kah-pree-ell (variant of "warrior") Keallach: Key-lock ("battle") Killian: Kill-ee-un ("little warrior"--though he's not so little in my novel!) Raniero: Rah-near-oh ("wise warrior") Ronan: Row-nun ("little seal"; I know. Not as cool, right? But he was named Duncan at first draft and I had to change it due to publisher request, and "Ronan" sounded like a medieval, cool warrior name to me. I overlooked the real translation in favor of the man he became in my story. And that guy, to my mind, is more like a warrior, with the spray of the sea upon his face as he takes on the storm--which is like a seal!) Tressa: Tre-sah ("late summer") Vidar: Vee-dar ("forest warrior")

April 26—I know I shouldn’t hang around the college when I’m through at the lab, but seeing the young men and women going back and forth carrying books and hearing them talk about all the things they’re learning in their classes excites me. I wish I could sit and talk with them over coffee in the Campus Bowl Luncheonette when they get together to argue about books and politics and ideas. It’s exciting to hear them talking about poetry and science and philosophy—about Shakespeare and Milton; Newton and Einstein and Freud; about Plato and Hegel and Kant, and all the other names that echo like great church bells in my mind. Sometimes I listen in on the conversations at the tables around me, and pretend I’m a college student, even though I’m a lot older than they are. I carry books around, and I’ve started to smoke a pipe. It’s silly, but since I belong at the lab I feel as if I’m a part of the university. I hate to go home to that lonely room.   April

In The Garret Four little chests all in a row, Dim with dust, and worn by time, All fashioned and filled, long ago, By children now in their prime. Four little keys hung side by side, With faded ribbons, brave and gay When fastened there, with childish pride, Long ago, on a rainy day. Four little names, one on each lid, Carved out by a boyish hand, And underneath there lieth hid Histories of the happy band Once playing here, and pausing oft To hear the sweet refrain, That came and went on the roof aloft, In the falling summer rain. 'Meg' on the first lid, smooth and fair. I look in with loving eyes, For folded here, with well-known care, A goodly gathering lies, The record of a peaceful life-- Gifts to gentle child and girl, A bridal gown, lines to a wife, A tiny shoe, a baby curl. No toys in this first chest remain, For all are carried away, In their old age, to join again In another small Meg's play. Ah, happy mother! Well I know You hear, like a sweet refrain, Lullabies ever soft and low In the falling summer rain. 'Jo' on the next lid, scratched and worn, And within a motley store Of headless dolls, of schoolbooks torn, Birds and beasts that speak no more, Spoils brought home from the fairy ground Only trod by youthful feet, Dreams of a future never found, Memories of a past still sweet, Half-writ poems, stories wild, April letters, warm and cold, Diaries of a wilful child, Hints of a woman early old, A woman in a lonely home, Hearing, like a sad refrain-- 'Be worthy, love, and love will come,' In the falling summer rain. My Beth! the dust is always swept From the lid that bears your name, As if by loving eyes that wept, By careful hands that often came. Death canonized for us one saint, Ever less human than divine, And still we lay, with tender plaint, Relics in this household shrine-- The silver bell, so seldom rung, The little cap which last she wore, The fair, dead Catherine that hung By angels borne above her door. The songs she sang, without lament, In her prison-house of pain, Forever are they sweetly blent With the falling summer rain. Upon the last lid's polished field-- Legend now both fair and true A gallant knight bears on his shield, 'Amy' in letters gold and blue. Within lie snoods that bound her hair, Slippers that have danced their last, Faded flowers laid by with care, Fans whose airy toils are past, Gay valentines, all ardent flames, Trifles that have borne their part In girlish hopes and fears and shames, The record of a maiden heart Now learning fairer, truer spells, Hearing, like a blithe refrain, The silver sound of bridal bells In the falling summer rain. Four little chests all in a row, Dim with dust, and worn by time, Four women, taught by weal and woe To love and labor in their prime. Four sisters, parted for an hour, None lost, one only gone before, Made by love's immortal power, Nearest and dearest evermore. Oh, when these hidden stores of ours Lie open to the Father's sight, May they be rich in golden hours, Deeds that show fairer for the light, Lives whose brave music long shall ring, Like a spirit-stirring strain, Souls that shall gladly soar and sing In the long sunshine after rain

I confess that I'm a sinner. Just like my old man. In word and in deed I enjoy my sin. In word and in deed my sin enjoys me. There is no one to blame. No one but me. Sin is my nature. I sin instinctually. Sin mimics the gates of paradise. Sin beats me to the floor. Sin is the dark shadow that no one can ignore. Sin screams "What's yours I want". Sin screams. "What's mine I'll keep." Sin is forever knocking, beating at the iron door. Don't even open it for an instant. Sin always wants more. Sin forever stole the key. But you're not locked out forever. In this sinner's Garden of Eden where sin pretends to be a treasure. Sin wants to make you bleed. Sin cuts down every giver. Sin cuts every hand. Sin wants total control. Sin wants to command. Sin just wants to kill you. And yes, for you the bell tolls. So death came before life entered. In death sin was conceived. Sin will linger forever Blameless, it's part of you and me. But there's a silver lining to sin's story. And the silver lining is this-When I was out chasing sin. The truth was out chasing me and when it finally caught me. That truth set me free. Now I've shared it all. Perhaps I've shared too much. But in this you must believe. The only truth I have left is this, my Sinner's Creed.

The visitor sees the hospital as needles and knives, metal teeth, metal bars; sees the foggy meeting between the damp summer air outside and the overheated exhalations of the sick room. But the patient sees no such contrast. She cannot imagine the street, the motorway. To her the hospital is this squashed pillow, this water glass: this bell pull, and the nice judgement required to know when to ring it. For the visitor everything points outwards, to the release of the end of the visiting hour, and to the patient everything points inwards, and the furthest extension of her consciousness is not the rattle of car keys, the road home, the first drink of the evening, but the beep and plip-plop of monitors and drips, the flashing of figures on screens; these are how you register your existence, these are the way you matter.

My mother, who is a pianist and a fine artist, purchased a piano for me. Twice. This was back when I was a small girl. Pianos, of course, came complete with the quintessential piano teacher who whacked my hand with a stick each time I struck the wrong key. I learned a few pieces, yes, but eventually my pen compelled me to write too much and the sound of the leaves rustling in the wind compelled me to climb trees too often. Sorry mom. Coincidentally, books come from trees and flipping the pages sounds like wind through leaves... hhhmmmm... I guess I’m still just climbing trees now, but in a different way!

Funnel The family story tells, and it was told true, of my great-grandfather who begat eight genius children and bought twelve almost-new grand pianos. He left a considerable estate when he died. The children honored their separate arts; two became moderately famous, three married and fattened their delicate share of wealth and brilliance. The sixth one was a concert pianist. She had a notable career and wore cropped hair and walked like a man, or so I heard when prying a childhood car into the hushed talk of the straight Maine clan. One died a pinafore child, she stays her five years forever. And here is one that wrote- I sort his odd books and wonder his once alive words and scratch out my short marginal notes and finger my accounts. back from that great-grandfather I have come to tidy a country graveyard for his sake, to chat with the custodian under a yearly sun and touch a ghost sound where it lies awake. I like best to think of that Bunyan man slapping his thighs and trading the yankee sale for one dozen grand pianos. it fit his plan of culture to do it big. On this same scale he built seven arking houses and they still stand. One, five stories up, straight up like a square box, still dominates its coastal edge of land. It is rented cheap in the summer musted air to sneaker-footed families who pad through its rooms and sometimes finger the yellow keys of an old piano that wheezes bells of mildew. Like a shoe factory amid the spruce trees it squats; flat roof and rows of windows spying through the mist. Where those eight children danced their starfished summers, the thirty-six pines sighing, that bearded man walked giant steps and chanced his gifts in numbers. Back from that great-grandfather I have come to puzzle a bending gravestone for his sake, to question this diminishing and feed a minimum of children their careful slice of suburban cake.

The key to innovation—at Bell Labs and in the digital age in general—was realizing that there was no conflict between nurturing individual geniuses and promoting collaborative teamwork. It was not either-or. Indeed, throughout the digital age, the two approaches went together. Creative geniuses (John Mauchly, William Shockley, Steve Jobs) generated innovative ideas. Practical engineers (Presper Eckert, Walter Brattain, Steve Wozniak) partnered closely with them to turn concepts into contraptions. And collaborative teams of technicians and entrepreneurs worked to turn the invention into a practical product. When part of this ecosystem was lacking, such as for John Atanasoff at Iowa State or Charles Babbage in the shed behind his London home, great concepts ended up being consigned to history’s basement. And when great teams lacked passionate visionaries, such as Penn after Mauchly and Eckert left, Princeton after von Neumann, or Bell Labs after Shockley, innovation slowly withered.

Out in the city, church bells strike one. One thirty. Still her father does not return. At some point, several distinct thumps travel into the museum from the gardens or the streets beyond, as if someone is dropping sacks of cement mix out of the clouds. With each impact, the thousands of keys in their cabinets quiver on their pegs.

Psychological death is the key to all romances, isn't it? If the two lovers don't get together, they will each miss out on their "soul mate." Their lives will be incurably damaged. Since readers of traditional romances know they're going to end up together, it's all the more important to create this illusion of imminent psychological death.

I am always drawn back to places where I have lived, the houses and their neighborhoods. For instance,there is a brownstone in the East Seventies where, during the early years of the war, I had my first apartment. It was one room crowded with attic furniture, a sofa and fat chairs, upholstered in that itchy particular red velvet that one associates with hot days on a tram. The walls were stucco, and a color rather like tobacco-spit. Everywhere, in the bathroom too, there were prints of Roman ruins, freckled brown with age. The single window looked out on a fire escape. Even so, my spirits heightened whenever I felt in my pocket the key to this apartment; with all its gloom, it was still a place of my own, the first, and my books were there, and jars of pencils to sharpen, everything I needed, so I felt, to become the writer I wanted to be. It never occurred to me in those days to write about Holly Golightly, and probably it would not now except for a conversation with Joe Bell that set the whole memory of her in motion again.

With the Regional Office breathing down her neck... Corinne had wanted to keep the Drury case low-key, uncontroversial. since Craig's disappearance had set he alarm bells off, Anna was willing to be she'd change tactics, make a noisy show of taking command of the situation. For a while the name of the game at Guadalupe Mountains would be Cover Your Ass.

She pictures her leaning down in the dressing area and finding the pieces of evidence she’d left in her shoe rack this morning before she left, the key-card holder, the little bag, the illegible phone number with a girl’s name she’d added to it. Daisy. She’d been pleased with that. The sort of ultra-feminine, young-sounding name that would set alarm bells ringing.

That was enough dialogue for a few pages - he had to get into some fast, red-hot action. There weren't any more hitches now. The story flowed like a torrent. The margin bell chimed almost staccato, the roller turned with almost piston-like continuity, the pages sprang up almost like blobs of batter from a pancake skillet. The beer kept rising in the glass and, contradictorily, steadily falling lower. The cigarettes gave up their ghosts, long thin gray ghosts, in a good cause; the mortality rate was terrible. His train of thought, the story's lifeline, beer-lubricated but no whit impeded, flashed and sputtered and coursed ahead like lightning in a topaz mist, and the loose fingers and hiccuping keys followed as fast as they could. ("The Penny-A-Worder")

In sharing these very personal experiences, the writers herein hope to convey how much God cares for us and how active and close He is to us—fighting our battles and revealing the eternal consequences of our choices and behavior, even our thoughts and attitudes, here on earth. It is true that we normally live by faith and not by sight, but some of us at certain times are given supernatural sight, hearing, and even smell. The supernatural world constantly intersects our fallen world but manifests itself at key times: during intense spiritual warfare, at the time of death, when we’re in mortal danger or dire need, and when God wants to reveal His glory. So it isn’t surprising that these stories involve angels and demons, near-death experiences, exciting rescues, miraculous provision, and manifestations of God’s presence in worship.

So you climbed over the fence to gain access to your ex-husband’s house?” “Yes. We used to . . . There was always a spare key at the back. We had a place we hid it, in case one of us lost our keys or forgot them or something. But I wasn’t breaking in—I didn’t. I just wanted to talk to Tom. I thought maybe . . . the bell wasn’t working or something.” “This was the middle of the day, during the week, wasn’t it? Why did you think your

Lady Isabeau was tall for a woman, nearly as tall as Molly, but slender where Molly was stout, with a smooth immobile face that looked as if it had been carved from ivory, pale and serene. Hob stared at her: glossy black hair bound about the brows with a broad white linen fillet and partly concealed by a veil that draped down her neck; dark eyes beneath dark brows plucked thin; unsmiling lips, full and well-shaped. There was so little expression on her face, and its beauty was so unworldly, that Hob had a moment when he thought her an apparition, or a graven figure. “Blanche comme la neige,” came to his mind, a song Molly had taught him, “belle comme le jour.” The thinnest of scars ran from her hairline down her forehead, divided her left eyebrow, and curved along her cheek to the corner of her mouth, and seemed at once to augment her beauty and to reinforce its carven stillness, as if some wright's chisel had slipped in the course of fashioning her visage. A linen band of the sort known as a barbette ran down from the fillet at her temples and passed under her chin, framing her face, and rendering her features all the more austere. Her gown was a muted purple; heavy embroidery of red and blue circled its neckline, and it was gathered by a zone of gray silk, sewn with pearls, that circled her hips. From this belt depended a silver ring, as wide around as a big man's fist. On the ring was a bunch of black iron keys, of varying sizes: the symbol and reality of her standing as administrator of the household. As she spoke, she fiddled with the keys as though they were prayer beads; they gave off a continual muted clink, just barely audible to Hob above the rumble of voices, the thuds and thumps of plank tabletops settling onto their trestles.

It’s the bell curve again,” I said to Ishtar. “If—as Lazarus thinks, and statistics back him up—every migration comes primarily from the right-hand end of the normal-incidence curve of human ability, then this acts as a sorting device whereby the new planet will show a bell curve with a much higher intelligence norm than the population it came from…and the old planet will average almost imperceptibly stupider.” “Imperceptible except for one thing!” Lazarus objected. “That tiny fraction that hardly shows statistically is the brain. I recall a country that lost a key war by chasing out a mere half dozen geniuses. Most people can’t think, most of the remainder won’t think, the small fraction who do think mostly can’t do it very well. The extremely tiny fraction who think regularly, accurately, creatively, and without self-delusion - in the long run these are the only people who count and they are the very ones who migrate when it is physically possible to do so

Color—that’s another thing people don’t expect. In her imagination, in her dreams, everything has color. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard station, projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver; pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass

The elements are all there—fingers, keys, strings, ears—but there’s something in the way, something inhibiting our ability to fully experience all the possibilities. The apostle Paul writes that now we see “as in a mirror; then we shall see face to face” (1 Cor. 13). Right now, we’re trying to embrace our lover, but we’re wearing a hazmat suit. We’re trying to have a detailed conversation about complex emotions, but we’re underwater. We’re trying to taste the thirty-two different spices in the curry, but our mouth is filled with gravel.

Would you take it back?” “What?” “If you could go back in time, would you change anything with you and Sera? Telling Carter doesn't count. I’m talking about you guys.” Everything flashed before my eyes in a single breath. The first time I laid eyes on her dressed as Tinker Bell at XS. Moving in day. Our near kiss in the kitchen. Picking her up from Rob's the night she called me. The time she lost her keys. The way her nose scrunches up when she laughs. Movie nights. Twenty-one questions. Falling asleep with her in my arms. Coconut shampoo. And so much pink. “No. I wouldn’t change a single thing.

Color—that’s another thing people don’t expect. In her imagination, in her dreams, everything has color. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard station, projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver; pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light. She has no memories of her mother but imagines her as white, a soundless brilliance. Her father radiates a thousand colors, opal, strawberry red, deep russet, wild green; a smell like oil and metal, the feel of a lock tumbler sliding home, the sound of his key rings chiming as he walks. He is an olive green when he talks to a department head, an escalating series of oranges when he speaks to Mademoiselle Fleury from the greenhouses, a bright red when he tries to cook. He glows sapphire when he sits over his workbench in the evenings, humming almost inaudibly as he works, the tip of his cigarette gleaming a prismatic blue.

A not-so-easy pill to swallow, is the fact that much of the time, you are fighting monsters that you yourself have fashioned. Yes, there are toxic relationships, toxic individuals, but there also exists the monsters that you have fashioned with your own mind. You think you are being chased, captured, wounded, by these monsters when in fact you alone are composed of the entire capability to dismantle them piece-by-piece, because in reality they exist in your mind and you have fashioned them as the creator of your inner world, as the author of your own epic tale. In this sense, you may reassemble your world and you may remake the plot of your own story. The key is realising how much of the darkness is actually your own doing, digging for their roots, and figuring out how to begin dismantling.

Another point we have to understand is that Dōgen uses language to negate language and to go beyond its ordinary limits. For Dōgen, language and thinking can function as tools to help us to awaken to the reality beyond language and thinking. This is what Dōgen calls dōtoku (being able to speak). When we truly see reality, we can say that the mountain is moving, the boat is moving, or both are moving simultaneously; all of these are expressions of reality. We can say the wind makes the sound, the bell makes the sound, the mind makes the sound, or the entire universe makes the sound, and all of these can be expressions of reality as well. This is what Dōgen meant when he wrote, “When the Dharma is correctly transmitted to the self, the person is immediately an original person.” In other words, an “original person” meets reality as it comes, without clinging to any particular fixed concept of reality.

An ear-splitting screech pierced the silence, followed by another, striking his ears like metal against a hollow bell. The woosh woosh of wind being displaced brought Andrew’s attention skyward, and a glacial gust of paralyzing terror raced up his spine. The creature opened its mouth, and a blazing shaft of fire bellowed from above. Andrew barely had enough time to back beneath an awning for protection. Egnatious and Sebastian dove to the side while Firen sidestepped her impending doom, raising the katana in challenge. The screeching returned, except now the howls were coming from every direction. Firen’s chest heaved. “Did you see that?” she asked, her stormy eyes glinting with rapture and daring as she held her katana out, preparing for the next attack. “Did I see the dragon?” Sebastian asked, hysteria dangerously rising to the surface. He stood and brushed himself off. “Yes, I bloody well did see that enormous, scaly, fire-breathing dragon.

my love thy hair is one kingdom the king whereof is darkness thy forehead is a flight of flowers thy head is a quick forest filled with sleeping birds thy breasts are swarms of white bees upon the bough of thy body thy body to me is April in whose armpits is the approach of spring thy thighs are white horses yoked to a chariot of kings they are the striking of a good minstrel between them is always a pleasant song. my love thy head is a casket of the cool jewel of thy mind the hair of thy head is one warrior innocent of defeat thy hair upon thy shoulders is an army with victory and with trumpets thy legs are the trees of dreaming whose fruit is the very eatage of forgetfulness thy lips are satraps in scariet in whose kiss is the combining of kings thy wrists are holy which are the keepers of the keys of thy blood thy feet upon thy ankles are flowers in vases of silver in thy beauty is the dilemma of flutes thy eyes are the betrayal of bells comprehended through incense

The key to innovation-at Bell Labs and in the digital age in general-was realizing that there was no conflict between nurturing individual geniuses and promoting collaborative teamwork. It was not either-or. Indeed, throughout the digital age, the two approaches went together. Creative geniuses (John Mauchly, William Shockley, Steve Jobs) generated innovative ideas. Practical engineers (Presper Eckert, Walter Brattain, Steve Wozniak) partnered closely with them to turn concepts into contraptions. And collaborative teams of technicians and entrepreneurs worked to turn the invention into a practical product. When part of this ecosystem was lacking, such as for John Atanasoff at Iowa State or Charles Babbage in the shed behind his London home, great concepts ended up being consigned to history's basement. And when great teams lacked passionate visionaries, such as Penn after Mauchly and Eckert left, Princeton after von Neumann, or Bell Labs after Shockley, innovation slowly withered.

Forward blocking provides one of the most spectacular refutations of the associationist view.5 In blocking experiments, an animal is given two sensory clues, say, a bell and a light, both of which predict the imminent arrival of food. The trick is to present them sequentially. We start with the light: the animal learns that whenever the light is on, it predicts the arrival of food. Only then do we introduce dual trials where both light and bell predict food. Finally, we test the effect of the bell alone. Surprise: it has no effect whatsoever! Upon hearing the bell, the animal does not salivate; it seems utterly oblivious to the repeated association between the bell and the food reward. What happened? The finding is incompatible with associationism, but it fits perfectly with the Rescorla-Wagner theory. The key idea is that the acquisition of the first association (light and food) blocked the second one (bell and food). Why? Because the prediction based on light alone suffices to explain everything.

Bell treated his friend and colleague Watson generously. Though he had no legal obligations to do so, he awarded Watson 10 percent of the company, allowing Watson to retire rich at the age of just twenty-seven. Able to do anything he wanted, Watson devoted the rest of his life to just that. He traveled the world, read widely, and took a degree in geology at MIT for the simple satisfaction of improving his brain. He then started a shipyard, which quickly grew to employ four thousand men, producing a scale of stress and obligation way beyond anything he wished for, so he sold the business, converted to Islam, and became a follower of Edward Bellamy, a radical philosopher and quasi communist who for a short period in the 1880s enjoyed phenomenal esteem and popularity. Tiring of Bellamy, Watson moved to England in early middle age and took up acting, for which he showed an unexpected talent. He proved particularly adept at Shakespearean roles and performed many times at Stratford-upon-Avon before returning to America and a life of quiet retirement. He died, contented and rich, at his winter home on Pass-Grille Key, Florida, just shy of his eighty-first birthday in 1934.

You know what's weird?" David said as Stevie was lost in thought. "What's weird is making a hobby out of the death of your classmate. You know what's also weird? Going through people's rooms, including the room of your dead classmate. Because you seem crazy." People might be dismissive of someone obsessed with mystery stories, as if the line between fiction and reality was so distinct. They didn't know, perhaps, that Sherlock Holmes was based on a a real man, Dr. Joseph Bell, and that the methods Arthur Conan Doyle created for his fictional detective inspired generations of real-world detectives. Did they know that Arthur Conan Doyle went on to investigate mysteries in his real life and even absolved a man of a crime for which he had been convicted? Did they know how Agatha Christie brilliantly staged her own disappearance in order to exact an elegant revenge on a cheating husband? They probably did not. And no one was going to discount Stevie Bell, who had gotten into this school on the wings of her interest in the Ellingham case, and who had been a bystander at a death that was now looking more and more suspicious. She was not crazy. And Hayes's key was in her pocket and Pix was on her way back. Stevie turned away and left David's room without saying anything else. Because she was also not going to let him see her cry.

Bells Screamed all off key, wrangling together as they collided in midair, horns and whistles mingled shrilly with cries of human distress; sulphur-colored light ex-ploded through the black windowpane and flashed away in darkness. Miranda waking from a dreamless sleep asked without expecting an answer, “What is happening?” for there was a bustle of voices and footsteps in the corridor, and a sharpness in the air; the far clamour went on, a furious exasperated shrieking like a mob in revolt. The light came on, and Miss Tanner said in a furry voice, “Hear that? They’re celebrating . It’s the Armistice. The war is over, my dear.” Her hands trembled. She rattled a spoon in a cup, stopped to listen, held the cup out to Miranda. From the ward for old bedridden women down the hall floated a ragged chorus of cracked voices singing, “My country, ’tis of thee…” Sweet land… oh terrible land of this bitter world where the sound of rejoicing was a clamour of pain, where ragged tuneless old women, sitting up waiting for their evening bowl of cocoa, were singing, “Sweet land of Liberty-” “Oh, say, can you see?” their hopeless voices were asking next, the hammer strokes of metal tongues drowning them out. “The war is over,” said Miss Tanner, her underlap held firmly, her eyes blurred. Miranda said, “Please open the window, please, I smell death in here.

On Sunday, November 10, Kaiser Wilhelm II was dethroned, and he fled to Holland for his life. Britain’s King George V, who was his cousin, told his diary that Wilhelm was “the greatest criminal known for having plunged the world into this ghastly war,” having “utterly ruined his country and himself.” Keeping vigil at the White House, the President and First Lady learned by telephone, at three o’clock that morning, that the Germans had signed an armistice. As Edith later recalled, “We stood mute—unable to grasp the significance of the words.” From Paris, Colonel House, who had bargained for the armistice as Wilson’s envoy, wired the President, “Autocracy is dead. Long live democracy and its immortal leader. In this great hour my heart goes out to you in pride, admiration and love.” At 1:00 p.m., wearing a cutaway and gray trousers, Wilson faced a Joint Session of Congress, where he read out Germany’s surrender terms. He told the members that “this tragical war, whose consuming flames swept from one nation to another until all the world was on fire, is at an end,” and “it was the privilege of our own people to enter it at its most critical juncture.” He added that the war’s object, “upon which all free men had set their hearts,” had been achieved “with a sweeping completeness which even now we do not realize,” and Germany’s “illicit ambitions engulfed in black disaster.” This time, Senator La Follette clapped. Theodore Roosevelt and Senator Lodge complained that Wilson should have held out for unconditional German surrender. Driven down Capitol Hill, Wilson was cheered by joyous crowds on the streets. Eleanor Roosevelt recorded that Washington “went completely mad” as “bells rang, whistles blew, and people went up and down the streets throwing confetti.” Including those who had perished in theaters of conflict from influenza and other diseases, the nation’s nineteen-month intervention in the world war had levied a military death toll of more than 116,000 Americans, out of a total perhaps exceeding 8 million. There were rumors that Wilson planned to sail for France and horse-trade at the peace conference himself. No previous President had left the Americas during his term of office. The Boston Herald called this tradition “unwritten law.” Senator Key Pittman, Democrat from Nevada, told reporters that Wilson should go to Paris “because there is no man who is qualified to represent him.” The Knickerbocker Press of Albany, New York, was disturbed by the “evident desire of the President’s adulators to make this war his personal property.” The Free Press of Burlington, Vermont, said that Wilson’s presence in Paris would “not be seemly,” especially if the talks degenerated into “bitter controversies.” The Chattanooga Times called on Wilson to stay home, “where he could keep his own hand on the pulse of his own people” and “translate their wishes” into action by wireless and cable to his bargainers in Paris.

A few chimes ago, however, the screams had fallen mysteriously silent. “Do you think the torture masters have tired themselves out?” Gaelen pondered with black humor. “More likely, we’re next, and they’ve just gone to sharpen their blades,” Tajik said. Locked up in the room with them, Farel gave a grunting laugh of amusement. “Could be. They’ve been using them enough.” “You know,” Gil announced, “as rescues go, I have to say, this one pretty much scorches rultshart turds.” About a man length from the source of Gil’s voice came Rijonn’s rumbling agreement. “Tairen turds.” “I told you,” Gaelen said, “I had backups. I don’t know what happened to them.” A metallic scraping sound came from the direction of the door, and they all fell silent. The scraping sound was followed by the distinctive click of the latch lifting free. The door swung inward, and a sliver of light—the first in bells—spilled into the cell, widening rapidly as the door opened more fully. Two armored silhouettes stood in the doorway. “Well, aren’t you a sorry sight,” a familiar Fey voice drawled. “Kieran?” Gaelen sat up straight. There wasn’t much in life that could surprise him, but the appearance of Kieran vel Solande in the heart of Boura Fell definitely did. “What are you doing here? “ “Apparently, uncle, I’m saving you from a very nasty demise, though gods know, I’m sure it won’t take me long to regret it.” Gaelen grinned, too pleased to take offense at his nephew’s cheek. “Well, it took you long enough,” Bel groused, holding up his hands as Kiel ran over with a key to unlock his sel’dor manacles. “I was starting to get worried.” Gaelen turned on Bel in disbelief. “You knew they were coming? “ Bel arched a brow. “You think the High Mage is the only one who plans backups for his backups?” Rijonn laughed, slow and deep.

Even though the Internet provided a tool for virtual and distant collaborations, another lesson of digital-age innovation is that, now as in the past, physical proximity is beneficial. There is something special, as evidenced at Bell Labs, about meetings in the flesh, which cannot be replicated digitally. The founders of Intel created a sprawling, team-oriented open workspace where employees from Noyce on down all rubbed against one another. It was a model that became common in Silicon Valley. Predictions that digital tools would allow workers to telecommute were never fully realized. One of Marissa Mayer’s first acts as CEO of Yahoo! was to discourage the practice of working from home, rightly pointing out that “people are more collaborative and innovative when they’re together.” When Steve Jobs designed a new headquarters for Pixar, he obsessed over ways to structure the atrium, and even where to locate the bathrooms, so that serendipitous personal encounters would occur. Among his last creations was the plan for Apple’s new signature headquarters, a circle with rings of open workspaces surrounding a central courtyard. Throughout history the best leadership has come from teams that combined people with complementary styles. That was the case with the founding of the United States. The leaders included an icon of rectitude, George Washington; brilliant thinkers such as Thomas Jefferson and James Madison; men of vision and passion, including Samuel and John Adams; and a sage conciliator, Benjamin Franklin. Likewise, the founders of the ARPANET included visionaries such as Licklider, crisp decision-making engineers such as Larry Roberts, politically adroit people handlers such as Bob Taylor, and collaborative oarsmen such as Steve Crocker and Vint Cerf. Another key to fielding a great team is pairing visionaries, who can generate ideas, with operating managers, who can execute them. Visions without execution are hallucinations.31 Robert Noyce and Gordon Moore were both visionaries, which is why it was important that their first hire at Intel was Andy Grove, who knew how to impose crisp management procedures, force people to focus, and get things done. Visionaries who lack such teams around them often go down in history as merely footnotes.

45 Mercy Street In my dream, drilling into the marrow of my entire bone, my real dream, I'm walking up and down Beacon Hill searching for a street sign - namely MERCY STREET. Not there. I try the Back Bay. Not there. Not there. And yet I know the number. 45 Mercy Street. I know the stained-glass window of the foyer, the three flights of the house with its parquet floors. I know the furniture and mother, grandmother, great-grandmother, the servants. I know the cupboard of Spode the boat of ice, solid silver, where the butter sits in neat squares like strange giant's teeth on the big mahogany table. I know it well. Not there. Where did you go? 45 Mercy Street, with great-grandmother kneeling in her whale-bone corset and praying gently but fiercely to the wash basin, at five A.M. at noon dozing in her wiggy rocker, grandfather taking a nap in the pantry, grandmother pushing the bell for the downstairs maid, and Nana rocking Mother with an oversized flower on her forehead to cover the curl of when she was good and when she was... And where she was begat and in a generation the third she will beget, me, with the stranger's seed blooming into the flower called Horrid. I walk in a yellow dress and a white pocketbook stuffed with cigarettes, enough pills, my wallet, my keys, and being twenty-eight, or is it forty-five? I walk. I walk. I hold matches at street signs for it is dark, as dark as the leathery dead and I have lost my green Ford, my house in the suburbs, two little kids sucked up like pollen by the bee in me and a husband who has wiped off his eyes in order not to see my inside out and I am walking and looking and this is no dream just my oily life where the people are alibis and the street is unfindable for an entire lifetime. Pull the shades down - I don't care! Bolt the door, mercy, erase the number, rip down the street sign, what can it matter, what can it matter to this cheapskate who wants to own the past that went out on a dead ship and left me only with paper? Not there. I open my pocketbook, as women do, and fish swim back and forth between the dollars and the lipstick. I pick them out, one by one and throw them at the street signs, and shoot my pocketbook into the Charles River. Next I pull the dream off and slam into the cement wall of the clumsy calendar I live in, my life, and its hauled up notebooks.

I was standing lost, sunk, my hands in my pockets, gazing toward Tinker Mountain and feeling the earth reel down. All at once, I saw what looked like a Martian spaceship whirling towards me in the air. It flashed borrowed light like a propeller. Its forward motion greatly outran its fall. As I watched, transfixed, it rose, just before it would have touched a thistle, and hovered pirouetting in one spot, then twirled on and finally came to rest. I found it in the grass; it was a maple key…Hullo. I threw it into the wind and it flew off again, bristling with animate purpose, not like a thing dropped or windblown, pushed by the witless winds of convection currents hauling round the world’s rondure where they must, but like a creature muscled and vigorous, or a creature spread thin to that other wind, the wind of the spirit that bloweth where it listeth, lighting, and raising up, and easing down. O maple key, I thought, I must confess I thought, o welcome, cheers. And the bell under my ribs rang a true note, a flourish of blended horns, clarion, sweet, and making a long dim sense I will try at length to explain. Flung is too harsh a word for the rush of the world. Blown is more like it, but blown by a generous, unending breath. That breath never ceases to kindle, exuberant, abandoned; frayed splinters spatter in every direction and burgeon into flame. And now when I sway to a fitful wind, alone and listing, I will think, maple key. When I see a photograph of earth from outer space, the planet so startlingly painterly and hung, I will think, maple key. When I shake your hand or meet your eyes, I will think two maple keys. If I am maple key falling, at least I can twirl. Thomas Merton wrote, “There is always a temptation to diddle around in the contemplative life, making itsy-bitsy statues.” There is always an enormous temptation in all of life to diddle around making itsy-bitsy friends and meals and journeys for itsy-bitsy years on end. It’s no self-conscious, so apparently moral, simple to step aside from the gaps where the creeks and winds pour down, saying, I never merited this grace, quite rightly, and then to sulk along the rest of your days on the edge of rage. I won’t have it. The world is wilder than that in all directions, more dangerous and bitter, more extravagant and bright. We are making hay when we should be making whoopee; we are raising tomatoes when we should be raising Cain, or Lazarus. Ezekiel excoriates false prophets who have “not gone up into the gaps.” The gaps are the thing. The gaps are the spirit’s one home, the altitudes and latitudes so dazzlingly spare and clean that the spirit can discover itself for the first time like a once blind man unbound. The gaps are the cliffs in the rock where you cower to see the back parts of God; they are the fissures between mountains and cells the wind lances through, the icy narrowing fjords splitting the cliffs of mystery. Go up into the gaps. If you can find them; they shift and vanish too. Stalk the gaps. Squeak into a gap in the soil, turn, and unlock- more than a maple- a universe. This is how you spend the afternoon, and tomorrow morning, and tomorrow afternoon. Spend the afternoon. You can’t take it with you.

You know, it isn't the best time to be in the Keys. Not as a tourist, anyway. We natives like it 'cause it makes us feel so superior. We don't mind the humidity and the insects and the hurricanes. We got starch in us; not just in our backbones, but in our whole skeletons." She laughs, the church-bell accompaniment to Nathan's pipe-organ guffaw. "Miss Tia," Nathan says, "you could put some of that starch in your backbone. Looks like you're about to go under the table.

suburban normalness—there, at least, made me stand out. I walked to work. I always walked to work; I got my best ideas that way. I stopped at the Korean market across the street from the office before I went inside. I picked up the Daily News and the Philadelphia Inquirer and bought a cup of coffee. I crossed the street, and when I got to the front door, I had to set the papers down on the sidewalk at my feet so I could fish around in my bag for my keys. Just as I was about to open the door I heard a church bell ring, which made me look at my watch, which happened to be on the wrist of the hand that was holding the coffee, and I ended up spilling coffee all over the newspapers I’d put on the ground. I made a quick hop to the left and managed to avoid most of the mess; still, the whole thing almost started me crying all over

panic. Carlos was pressing her for a decision on when she was going to get back. She knew she had to have a meeting about the ball as soon as she could. It wouldn’t look good to dither. It was the pinnacle of her career. She needed to get the key people on board. She couldn’t mess this one up. But she couldn’t just walk out of Belle Vue. Or could she? Maybe she should lock it up and leave it, then come back in a month or so, when probate was through. By the time Debbie came round to help her clear out some cupboards, she was feeling very tetchy. ‘Thank God you’re here,’ she said. ‘I’m never going to manage.’ ‘You just need to be organised,’ said Debbie. ‘Thank you so much for helping me.

His book For Whom the Bell Tolls was an instant success in the summer of 1940, and afforded him the means to live in style at his villa outside of Havana with his new wife Mary Welsh, whom he married in 1946. It was during this period that he started getting headaches and gaining weight, frequently becoming depressed. Being able to shake off his problems, he wrote a series of books on the Land, Air and Sea, and later wrote The Old Man and the Sea for which he won the Pulitzer Prize in May 1954. Hemingway on a trip to Africa where he barely survived two successive airplane crashes. Returning to Cuba, Ernest worked reshaping the recovered work and wrote his memoir, A Moveable Feast. He also finished True at First Light and The Garden of Eden. Being security conscious, he stored his works in a safe deposit box at a bank in Havana. His home Finca Vigía had become a hub for friends and even visiting tourists. It was reliably disclosed to me that he frequently enjoyed swinger’s parties and orgies at his Cuban home. In Spain after divorcing Frank Sinatra Hemingway introduced Ava Gardner to many of the bullfighters he knew and in a free for all, she seduced many of hotter ones. After Ava Gardner’s affair with the famous Spanish bullfighter Luis Miguel Dominguín crashed, she came to Cuba and stayed at Finca Vigía, where she had what was termed to be a poignant relationship with Ernest. Ava Gardner swam nude in the pool, located down the slope from the Hemingway house, after which he told his staff that the water was not to be emptied. An intimate friendship grew between Hemingway’s forth and second wife, Mary and Pauline. Pauline often came to Finca Vigia, in the early 1950s, and likewise Mary made the crossing of the Florida Straits, back to Key West several times. The ex-wife and the current wife enjoyed gossiping about their prior husbands and lovers and had choice words regarding Ernest. In 1959, Hemingway was in Cuba during the revolution, and was delighted that Batista, who owned the nearby property, that later became the location of the dismal Pan Americana Housing Development, was overthrown. He shared the love of fishing with Fidel Castro and remained on good terms with him. Reading the tea leaves, he decided to leave Cuba after hearing that Fidel wanted to nationalize the properties owned by Americans and other foreign nationals. In the summer of 1960, while working on a manuscript for Life magazine, Hemingway developed dementia becoming disorganized and confused. His eyesight had been failing and he became despondent and depressed. On July 25, 1960, he and his wife Mary left Cuba for the last time. He never retrieved his books or the manuscripts that he left in the bank vault. Following the Bay of Pigs Invasion, the Cuban government took ownership of his home and the works he left behind, including an estimated 5,000 books from his personal library. After years of neglect, his home, which was designed by the Spanish architect Miguel Pascual y Baguer in 1886, has now been largely restored as the Hemingway Museum. The museum, overlooking San Francisco de Paula, as well as the Straits of Florida in the distance, houses much of his work as well as his boat housed near his pool.

HOW the ADDICTION STARTS • ALARM BELLS • THAT EMPTY FEELING • ONE CIGARETTE LEADS TO ANOTHER • RE-PROGRAMMING YOUR BRAIN • THE KEY TO ESCAPE

Darwin had asserted that the transmission of inherited intelligence was a key step in human evolution, driving our simian ancestors apart from the other apes.

After this interlude, invite again the muffled sound of the bell before enouncing the words of the next two lines with their key words. They will again be succeeded by a full sound of the bell, a silent period, and so on until the end of the exercise.

Government alone cannot restore the economy to health. Innovation is a primary driver of economic growth. One way of measuring inventive creativeness is through patent applications. Chetty, along with Alex Bell, Xavier Jaravel, Neviana Petkova, and John Van Reenen, studied the childhoods of more than a million patent holders, linking family income with elementary test scores and other key factors. Children at the top of their third-grade math class were the most likely to become inventors—but only if they also came from a high-income family. High-scoring children who were from low-income or minority families were no more likely to become inventors than affluent children with mediocre scores. Successful inventors were also less likely to be women, Black, Latino, or from the Southeast. Chetty called these failed inventors the “lost Einsteins.” “If women, minorities, and children from low-income families were to invent at the same rate as white men from high-income (top 20%) families, the rate of innovation in America would quadruple,” the authors said. The most ominous finding by Chetty and his colleagues was the effect of Covid-19 on educational progress. Using a popular math program called Zearn, the economists plotted the achievement of children from upper-income families versus those from lower incomes. When schools shut down and instruction switched to remote learning, children in the upper-income tier suffered a small drop in the lessons completed, but low-income children fell in a hole—a 60 percent drop in the rate of progress in learning math. The long-term economic prospects for those children are dire. “We’re likely to see further erosion of social mobility the longer this lasts,” Chetty said. The American dream was drifting farther out of reach for another generation.

In a math department that thrived on its collective intelligence—where members of the staff were encouraged to work on papers together rather than alone—this set him apart. But in some respects his solitude was interesting, too, for it had become a matter of some consideration at the Labs whether the key to invention was a matter of individual genius or collaboration. To those trying to routinize the process of innovation—the lifelong goal of Mervin Kelly, the Labs’ leader—there was evidence both for and against the primacy of the group. So many of the wartime and postwar breakthroughs—the Manhattan Project, radar, the transistor—were clearly group efforts, a compilation of the ideas and inventions of individuals bound together with common purposes and complementary talents.

train me, nice as could be other than acting like she’s my mom, all honey-this and honey-that and “You think you can remember all that, sweetie?” Just three or four years out of high school herself. But she did have three kids, so probably she’d wiped so many asses she got stuck that way. I didn’t hold it against her. Coach Briggs’s brother stayed upstairs in the office. Heart attack guy was a mystery. First they said he might come back by the end of summer. Then they all stopped talking about him. As far as customers, every kind of person came in. Older guys would want to chew the fat outside in the dock after I loaded their grain bags or headgates or what have you. I handled all the larger items. They complained about the weather or tobacco prices, but oftentimes somebody would recognize me and want to talk football. What was my opinion on our being a passing versus running team, etc. So that was amazing. Being known. It was the voice that hit my ear like a bell, the day he came in. I knew it instantly. And that laugh. It always made you wish that whoever made him laugh like that, it had been you. I was stocking inventory in the home goods aisle, and moved around the end to where I could see across the store. Over by the medications and vaccines that were kept in a refrigerator case, he was standing with his back to me, but that wild head of hair was the giveaway. And the lit-up face of Donnamarie, flirting so hard her bangs were standing on end. She was opening a case for him. Some of the pricier items were kept under lock and key. I debated whether to go over, but heard him say he needed fifty pounds of Hi-Mag mineral and a hundred pounds of pelleted beef feed, so I knew I would see him outside. I signaled to Donnamarie that I’d heard, and threw it all on the dolly to wheel out to the loading dock. He pulled his truck around but didn’t really see me. Just leaned his elbow out the open window and handed me the register ticket. He’d kept the Lariat of course, because who wouldn’t. “You’ve still got the Fastmobile, I see,” I said. He froze in the middle of lighting a smoke, shifted his eyes at me, and shook his head fast, like a splash of cold water had hit him. “I’ll be goddamned. Diamond?” “The one,” I said. “How you been hanging, Fast Man?” “Cannot complain,” he said. But it seemed like he wasn’t a hundred percent on it really being me loading his pickup. He watched me in the side mirror. The truck bounced a little each time I hefted a mineral block or bag into the bed. Awesome leaf springs on that beauty. I came around to give him back his ticket, and he seemed more sure.

Sue Monk Kidd, The Secret Life of Bees Dodie Smith, I Capture the Castle Edith Wharton, The Age of Innocence And Some More Books You Might Find of Use Jane Austen, Mansfield Park Elizabeth Barrett Browning Judy Blume, Are You There, God? It’s Me, Margaret Clare Chambers, Small Pleasures Roald Dahl, Matilda Caroline Dooner, The F*ck It Diet Kate Forsyth, Bitter Greens Jane Gardam, A Long Way from Verona James Herriot, All Creatures Great and Small Andrew Kaufman, All My Friends Are Superheroes Marian Keyes, Sushi for Beginners Harper Lee, To Kill a Mockingbird Carson McCullers, The Heart Is A Lonely Hunter Alice Munro, Dear Life Sylvia Plath, The Bell Jar

A key point in my work: Randomness has more than one "state," or form, and each, if allowed to play out on a financial market, would have a radically different effect on the way prices behave. One is the most familiar and manageable form of chance, which I call "mild." It is the randomness of a coin toss, the static of a badly tuned radio. Its classic mathematical expression is the bell curve, or "normal" probability distribution-so-called because it was long viewed as the norm in nature. Temperature, pressure, or other features of nature under study are assumed to vary only so much, and not an iota more, from the average value. At the opposite extreme is what I call "wild" randomness. This is far more irregular, more unpredictable. It is the variation of the Cornish coastline-savage promontories, craggy rocks, and unexpectedly calm bays. The fluctuation from one value to the next is limitless and frightening. In between the two extremes is a third state, which I call "slow" randomness.

The winter was not really winter at all, and therein may lie Key West's greatest charm. If one does not have to brood upon the coming of winter and the shortening of the days and the fading of the light, then perhaps one does not have to brood upon the coming of death. When the season is gentle and untreatening and seems to renew itself daily, we come to believe that spring and the long days of summer may be eternal after all. When we see the light trapped high in the sky on a summer evening, is it possible we are looking through an aperture at our future rather than at a seasonal phenomenon? Is it possible that the big party is just beginning?

To every man is given the key to the gates of heaven. The same key opens the gates of hell. —BUDDHIST PROVERB

EARNINGS McDonald's Plans Marketing Push as Profit Slides By Julie Jargon | 436 words Associated Press The burger giant has been struggling to maintain relevance among younger consumers and fill orders quickly in kitchens that have grown overwhelmed with menu items. McDonald's Corp. plans a marketing push to emphasize its fresh-cooked breakfasts as it battles growing competition for the morning meal. Competition at breakfast has heated up recently as Yum Brands Inc.'s Taco Bell entered the business with its new Waffle Taco last month and other rivals have added or discounted breakfast items. McDonald's Chief Executive Don Thompson said it hasn't yet noticed an impact from Taco Bell's breakfast debut, but that the overall increased competition "forces us to focus even more on being aggressive in breakfast." Mr. Thompson's comments came after McDonald's on Tuesday reported that its profit for the first three months of 2014 dropped 5.2% from a year earlier, weaker than analysts' expectations. Comparable sales at U.S. restaurants open more than a year declined 1.7% for the quarter and 0.6% for March, the fifth straight month of declines in the company's biggest market. Global same-store sales rose 0.5% for both the quarter and month. Mr. Thompson acknowledged again that the company has lost relevance with some customers and needs to strengthen its menu offerings. He emphasized Tuesday that McDonald's is focused on stabilizing key markets, including the U.S., Germany, Australia and Japan. The CEO said McDonald's has dominated the fast-food breakfast business for 35 years, and "we don't plan on giving that up." The company plans in upcoming ads to inform customers that it cooks its breakfast, unlike some rivals. "We crack fresh eggs, grill sausage and bacon," Mr. Thompson said. "This is not a microwave deal." Beyond breakfast, McDonald's also plans to boost marketing of core menu items such as Big Macs and french fries, since those core products make up 40% of total sales. To serve customers more quickly, the chain is working to optimize staffing, and is adding new prep tables that let workers more efficiently add new toppings when guests want to customize orders. McDonald's also said it aims to sell more company-owned restaurants outside the U.S. to franchisees. Currently, 81% of its restaurants around the world are franchised. Collecting royalties from franchisees provides a stable source of income for a restaurant company and removes the cost of operating them. McDonald's reported a first-quarter profit of $1.2 billion, or $1.21 a share, down from $1.27 billion, or $1.26 a share, a year earlier. The company partly attributed the decline to the effect of income-tax benefits in the prior year. Total revenue for the quarter edged up 1.4% to $6.7 billion, though costs rose faster, at 2.3%. Analysts polled by Thomson Reuters forecast earnings of $1.24 a share on revenue of $6.72 billion.

Insomnia can, when it goes on for weeks, be hell. But in smaller doses -- a night here and there -- it doesn't always need a cure. It may even be an asset, a help with some key troubles of the soul. Crucial insights that we need to convey to ourselves can often be received only at night, like city church bells that have to wait until dark to be heard.

Before anything else, preparation is the key to success.” —Alexander Graham Bell

I wasn’t just being handed the keys to the kingdom. I was about to have tools of mass destruction bestowed upon me.

Owen says you never mailed the key. He says he never saw you do it, and who becomes a self-made millionaire at twenty-two? Not without some kind of a head start.” “Again. Owen is lying. He’s a self-serving prick who will say anything to save his own ass.

No offense to your investigative skills, Detective, but I can assure you she exists. It’s why my brother drove all the way over here, because AC still has a key. I asked him to change out all the locks.

Well?” Belle asks, throwing her arms out wide. “Do I look okay? Are we ready?” “Fine,” I growl. “You look fine.” Fine like wine. Fine like art. Fine like I want to inspect every inch of her with my fingers and my tongue. I grab my keys and walk past her into the hallway. “Let’s go.

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While timing was only part of the issue with Doris Day, it would be a key reason why, from the mid-1950s onward, good people were unable to appear in good musicals. An original like Never Steal Anything Small was unsuccessful on every level—and heinous in its waste of Jimmy Cagney’s talent—while skillful adaptations like Silk Stockings and Bells Are Ringing flopped resoundingly. As fewer opportunities arose, they were sometimes attended by the questionable notion that dubbing solves all problems. This is why Rossano Brazzi and Sidney Poitier could look great, in South Pacific and Porgy and Bess, and sound ostensibly like the opera singers who were doing the actual vocalizing. While dubbing had been present from the very beginning, it achieved some kind of pinnacle from the mid-fifties to the late sixties. Hiring nonsinging names like Deborah Kerr and Rosalind Russell and Natalie Wood and Audrey Hepburn, even nonsinging non-names like Richard Beymer, was viewed as a form of insurance, conviction be damned.8 Casting for name recognition instead of experience has long been part of the film equation, and it cuts both ways. It may, for example, have seemed more astute than desperate to put Lee Marvin and Clint Eastwood into Paint Your Wagon, despite the equivocal results. Nicole Kidman in Moulin Rouge! was far less a musical player than a photogenic, aurally enhanced artifact, and many people left Mamma Mia! wondering if Pierce Brosnan’s execrable singing was intended as a deliberate joke. In contrast with these are the film people who take the plunge with surprising ease.

He sings off-key and talks nonsense, but he is the kindest person I’ve ever met. I hate that he holds no grudges but love who it makes him. After a fashion, I admire him—the purity of his soul and his complete compassion.

off of the backboard rang throughout the gym like a bell as it flew back onto the court. “Zero, zero,” the coach said as he walked back to the top of the key. One of the other players in the gym got the ball from mid court and passed it back to the coach. “Check up,” the coach said as he passed the ball back to Matt. After that, you can imagine how it went. The basketball coach beat Matt pretty easily, scoring basket after basket with ease. It was almost like Matt wasn’t even there. Just like I had predicted, the coach beat Matt soundly, and he did it without having to say a word. Now, don’t get me wrong, a lot of players with grit talk trash, and we’ll get to that in a minute, but they usually only do it with people they perceive as real competition. There are a lot of things that go with trash talking and I can guarantee that you probably don’t know them. Don’t worry, you will after you finish this book. The coach in this story knew that Matt wasn’t real competition, so he just beat him. The other players on the sidelines did all the trash-talking for him. Most of the time, players with grit won’t talk trash to